Who are Stacy Crowne?

We are four strong individuals who love coming together to play our songs. Every one of us has his own wheelhouse in terms of genre and at some point in our lives, we have all been part of different projects ranging from indie to stoner rock all the way to reggae and back. For me personally, soul is an important influence that breaks out of me in a James Brown kind of scream once in a while.

 

Where do you call home for the band?

Cologne, or as it is known in Germany, Köln, is our home. We are all born and raised here and apart from Pete we even sort of grew up together and went to the same school. Most notably, Cologne is known for the perfume 4711 (it stinks!) but is also full of history and culture. It is home to a couple of pretty good rock’n’roll bands and has/had some cool live music venues and festivals.

How did you come together?

I guess it all started in Dom’s parent’s basement. They are both musicians and were kind enough to put up with us butchering Turbonegro and Hellacopters songs. I always wanted to form a rock band with Dom but another friend beat me to the punch and formed an indie rock band with Dom on drums and Andi on lead guitar. I was always a little jealous but managed to poach them both for what later became Stacy Crowne. We went through a couple of line-up changes until, finally, we found the right drummer in Pete. That was around 2011, Stacy Crowne was founded a little later. 

 

Previous recordings?

Our first release was an EP recorded at a local studio in 2014. We weren’t entirely sure what we wanted to sound like but the songs are still in our setlist today. At some stage Carey from Savage Magic Records got hold of one of the CDs and we’ve been working with him ever since. In 2016 we release a split 7″ with The Empire Strikes and last year we released our first LP, We Sound Electric. We also just made another split 7″ with hardcore punk band Christmas and have another release in the pipeline for later this year. 

Post-pandemic – what are the plans?

Hit the ground running from where we left off, basically. A bunch of shows in Italy and Spain had to be cancelled due to the pandemic which we’d really like to make up for. Otherwise, we’ll just keep working on new material. Luckily we have a decent home studio where we can record and work on stuff in our own time. These ‘Corona Sessions’ have been very productive. So next year will see another few smaller releases and eventually our second LP. 

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I’m not a massive believer in fate or why things happen but I was asked to give a record a listen and possibly review it.  The dilemma I had was it was originally released late 2019 but hey the world has been on stop for some months anyway sure I’ll listen.  Then when I was putting together the pictures and links for this review I got a message from a label and asked if I’d ever heard a band named Stacy Crowne.  Now here’s where it gets spooky up until a few weeks ago I hadn’t but they did a split with a band I love (Christmas as it goes) and I reviewed the single last month and was really impressed with the sounds coming outta Stacy Crowne and then things snowballed The singer got in touch I played the record and then the label got in touch over something else entirely and bang as I type I have one of those boxes pop up whilst I’m spinning the record on my laptop its only Stacy Fucking Crowne! now that might just be a coincidence but we all know the evil powers of Rock and Roll and how they work so it might well be a sign and horns up for the band because I took it as the rock and Roll Gods telling me to turn the fucker up and band out my review and let everybody know how damn good this slice of Hard Rockin’ action is!

Strap yourself in kid this might get bumpy! From the opening ring of the overdrive, this is most definitely in the same ballpark as the scene back a couple of decades that had Gluecifer and The D4 ruling the roost along with Hellacopters and a hint of Supersuckers and Turbonegro.  If anything this is understated which is a shame (I missed it when it was released)  because opener ‘Oblivion’ sets the tone but by no means is the standout track maybe its the loosener opening couple of shots to accompany the big one and you have to build up to that nobody dives straight in or you’ll crash and burn but its got all the vital ingredients to Rock and Fuckin’ Roll but ‘White Lies’ adds the tambourine which is nice as the band cruise through the gears with a song not a million miles from Captain Poon and Biff Malibu its loud got a cool hook and plenty of punch but remains cool as without a bead of sweat on their brow nor a hair out of place this is good no I mean Good!

There’s always time for a bit of Boogie along the lines of Backstreet Girls ‘Tightrope’ with a really tight chorus with layered BV’s almost power-pop wearing big boys leather gloves and mirror shades if you know what I mean? and the keys added really lift it.  Great track.

When they just want to rock out they do so with consummate ease (‘Some Equals None’) they add some neat bass runs on ‘Get Loaded Now!’ Basically if you ever hankered after a record that has loud guitars but not for the sake of it loud and ever wanted riffs and plenty of crash bang wallop then ‘We Are Electric’ is an album you have to hear. The title track or ‘We Are The Rest’ delivers in spades and throw in some of that dirty rock that bands like American HEartbreak or The Four Horsemen touched upon but also delivered great records.

 

If I had to pick a standout track then it would have to be ‘Lovebite’ sure it sings from that classic Gluecifer hymnsheet but damn it’s a good song with gang vocals and laid back verses it’s quality and some splendid guitar playing, especially on the breakdown. It only leaves the power ballad of ‘Too Easy’ to cruise off into the sunset.  Only joking its not a token power ballad but it is like one of the Hellacopters road movie tunes, a little more laid back than the others maybe, and with some dueling guitars noodling for good measure its been a blast.

I’m only gutted I didn’t pick this up late last year but hey we can’t be on top of everything and I’m glad I’ve had the pleasure of playing it over and over now.  I won’t be making that mistake again.  Just buy it.

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Author: Dom Daley

Hailing from Houston, Texas, The Satanic Overlords of Rock ‘n’ Roll have arrived to unleash their debut album and to apparently let us know that the soundtrack in hell is filled with punk n roll anthems with plenty of guitar solos and hooks. Several bands came to mind while enjoying this album with their sound based in both the spirit of punk n roll bands like the Hellacopters, Electric Frankenstein, and Gluecifer, but they go deeper than that by also bringing to mind 70’s hard rock bands and at times the New Wave of British Heavy Metal across these 8 songs. I need to get my butt out of the house to catch one of their live shows.

‘Devils Law’ rides the flames up to Earth first with a brief intro giving way to a ‘1,2,3,4’ and before we know it we are hit with a lightning fast riff that throws up against the wall. One of the areas where this record suffers a bit is the band were recording this on probably a tight budget so Cheech’s drums don’t hit as hard as I am sure they will on future recordings. One of the ways I have found to address the sonic “limitations” is to crank it up really loud and get immersed in the songs. Donnie Stokes’ has the perfect voice for punk n roll as it carries with it an attitude and roughness that also gives way to an ability lay down some great vocal hooks in the choruses of these songs. Bill Fool and John Tolczyk lay down some awesome riffs and solos in this one before the band hit us with another chorus. ‘Glass Eye’ features a hook filled chorus but does not connect with me as much as most of the other songs here. The tempo feels more restrained, and the guitars are buried more in the mix here with only the solo really getting a chance to rise above it. Hearing this one live might change my mind though as I imagine it hits a lot harder in that environment.

‘Blood on the Backdoor’ unleashes the guitar riffs again and hits the sweet spot that Electric Frankenstein does so well by laying down multiple hooks between the music and the chorus to make the song immediately feel like an old friend. I can’t remember what listen it was when I started singing along to this one, but it seems like it was really fast. The guitars are high in the mix here with plenty of room to carve into your brain. This one also wastes no time and is segueing into side one closer ‘The Worm’ before you even know what hit you. The guitar riffs initially don’t erupt as much here but hit the mark with the sound feeling very much like you hear on those classic NWOBHM albums. Another huge chorus designed for audience participation, and the guitars get more of a chance to shine near the end of the song.

Getting us started on the flipside, ‘New Bomb’ rages out of the gate and hits you like a bullet train. Every listen conjures images in my head of a crowd going ballistic with this one playing, and bodies slamming into one another. ‘Unholy Ghost’ offers no reprieve with Lencho Cevallas getting to throw in a bass run to get the song going and then some more opportunities to get featured in the mix throughout the song. This has another chorus that immediately stuck to my head and has been a go-to song for me on this album. The guitar solo really provides a different feel to a song that otherwise would be right at home on an Electric Frankenstein record with Scott Wilkins on vocals.

Another hook hits us hard with ‘Sacrificial Lamb’ throwing some piano in the mix, and I must admit that I was initially singing something other than ‘Sacrificial Lamb’ when I was listening to this with no regard for song titles. My ears still pick up something different, but I am not going to project that out to any of you so these misheard words will belong to just me. ‘Demon’ ends this séance with another hook filled shot of action rock that features a simple vocal hook with the guitar riffs providing a strong hook on this epic closer. The final minute or so provides as outro that bookends the beginning of the album in a cool way.

This isn’t going to redefine the punk n roll genre or revolutionize the world, but the Satanic Overlords of Rock ‘n’ Roll make it a better world with this album now in it. Eight songs feel a little different for this style as my expectations fall more towards a 10 song album or 5 song EP. At the same time, I grew up when albums had fewer songs so they could fit on vinyl. This album has lots of evil charm, and, as I mentioned earlier, I really want to hear these songs in their natural live environment now. While it will not compete in my top albums of the year list, I can see this being an album that will continue to get plenty of plays.

‘The Satanic Overlords of Rock ‘n’ Roll’ is officially released June 7th

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Author: Gerald Stansbury